Summary

Portrait of Thomas De Quincey Thomas De Quincey The English Mail-Coach, or The Glory of Motion (1849)

That sound to each individual mail is the signal for drawing off, which process is the finest part of the entire spectacle. Then come the horses into play,—horses! can these be horses that (unless powerfully reined in) would bound off with the action and gestures of leopards? What stir!—what sea-like ferment!—what a thundering of wheels, what a trampling of horses!—what farewell cheers—what redoubling peals of brotherly congratulation, connecting the name of the particular mail—"Liverpool for ever!"—with the name of the particular victory—"Badajoz for ever!"
Source: Wikisource

Portrait of Thomas De Quincey Thomas De Quincey The English Mail-Coach, or The Glory of Motion (1849)

Waterton tells me that the crocodile does not change—that a cayman, in fact, or an alligator, is just as good for riding upon as he was in the time of the Pharaohs. That may be; but the reason is, that the crocodile does not live fast—he is a slow coach. I believe it is generally understood amongst naturalists, that the crocodile is a blockhead. It is my own impression that the Pharaohs were also blockheads.
Source: Wikisource

Portrait of Thomas De Quincey Thomas De Quincey The English Mail-Coach, or The Glory of Motion (1849)

The gatherings of gazers about a mail-coach had one centre, and acknowledged only one interest. But the crowds attending at a railway station have as little unity as running water, and own as many centres as there are separate carriages in the train.
How else, for example, than as a constant watcher for the dawn, and for the London mail that in summer months entered about dawn into the lawny thickets of Marlborough Forest, couldst thou, sweet Fanny of the Bath road, have become known to myself?
Source: Wikisource

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